Here it is: Part Three of Suzanne Chan’s four-part analysis of diversity, or the lack of it, on our television screens. Dig in:
THE GOOD WIFE
by Suzanne Chan
This is part three of a four-part series about television shows that I recently fell in love with for their premise, overall writing, and visual style. Two are to be celebrated for their diversity. Two could do better.
This week, I look at The Good Wife, a brainy, engaging show about a feminist, atheist heroine that is unexpectedly wrong-footed on issues of race.
When CBS first announced a new series called The Good Wife, the premise interested me. It sounded like a “what-if” story inspired by women like Hillary Clinton and Silda Wall Spitzer: independent-minded, liberal women who helped their husbands obtain high stations in public office, only to have their lives upended when the men were exposed as philanderers. It sounded like just the show to scratch my West Wing itch.
Due to scheduling conflicts, I missed the first five seasons of The Good Wife. During this time my nerdy, comics-loving friends heaped praise on the show.
When I finally caught up on the show last fall, as its sixth season was airing, I fell for it head over heels. Far from the leisurely few months I thought it would take, I binged the series in a few weeks.
I could relate to the feminist, atheist protagonist, Alicia Florick, and I loved the show’s ability to dramatize 21st century crimes: cases that relied on fairly thorough explorations of concepts such as intellectual property, bioethics, and conflicting rights.